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Vincent BEAURIN Ocelle, 2018.
Ocelle, 2018.
Polystyrene, glass.
Ø 71 x 13,5 cm / Ø 28 x 5 1/4 in.
VB_2018_0005

Vincent Beaurin's work is informed by a fascination with painting and colour, and more precisely with the landscape painting, and the atmospheric colours. Even if the artist doesn’t state any discontinuity between them, two main areas of work can be identified in his oeuvre: an ‘abstract’ part, more pictural, to be experienced in the Ocelles or Spots Couleurs, Champs, Fenêtres, Horizons, and a ‘figurative’ one, more sculptural, with entropic, and biomorph-esque volumes, such as Statues, Quiero, Tree of Life, Arch.


'The main elements of the work of Vincent Beaurin are the colours and their energy, air and light, body, figure, sinuosity, and sparkle... Each work of art is positioned in space, producing an effect that, thanks to its unusual qualities, can be defined as “aura.” Each work is the aura of itself and at the same time, the aura of a distant call that keeps getting closer and closer.'

Domenico de Chirico, 2018.

 

'Vincent Beaurin’s oeuvre is a sensitive and perceptible exploration of forms and their incorporation in space, ‘landscape-forms’ in which he sets to work on their subtle variations of colours, surfaces and materials with all the precision of an engraver.'

Pascal Rousseau, 'Un Cercle de Plénitude', 'Vincent Beaurin Three Pieces', Paris, 2016, p. 27.


'Through this poetics which involves limits and atmospheric hues, this oeuvre stands apart from the modernist legacy of early abstraction, while linking up with a longer-term history which, from Goethe to Kandinsky, has witnessed the assertion of a way of thinking about form in the process of revealing itself, a ‘morphology’. For the forms Vincent Beaurin summons are above all, places in which the visible gestates, places where a presence manifests itself which is the sign of a fullness in the offing.'

Pascal Rousseau, 'Un Cercle de Plénitude', 'Vincent Beaurin Three Pieces', Paris, 2016, p. 27.

MEMENTO VIVI - Clément Dirié -

Vincent Beaurin’s works are quiet, telluric, radiant witnesses.

Since his research undertaken in the 1990s - first as a designer and creator of objects, then, in no uncertain terms, as a visual artist - what is involved for him is the creation of forms which express his world and transmit it. His world - like our world - is neither figurative nor abstract, neither decorative nor speculative, and neither useless nor useful: it is all at once, loaded with a power clamouring only to be expressed, and irradiate and impregnate our retina. An impregnation which disturbs our perceptions of boundaries and givens, permitting the advent of a space, more fluid than the artworks, in which their forces and those surrounding them are in exchanges, and of a time, more vast than their observation, thanks to their optical potential and the “after-images”. I am obviously thinking here of the Ocelles, chromatic spectrums with endless variations, and of the “pictures” made of aluminium honeycomb panels, but also of the precious statuettes, hybrid sculptures, eccentric deities and monumental totems which Vincent Beaurin is increasingly erecting  outside traditional art venues ( 'Quiero', Majorca, Balearic Islands, 2017; 'Tree of Life', Kuala Lumpur, 2015-2016; 'Fleur' for the Al Hamra show, 2014; 'Arch', Maldives, 2013). All of them give off something sacred, but it is an open, pantheistic, magician’s sacredness, where the infinitely large and infinitely small are one, and where the muses are colours, disciples chant colour theories, and mystics are called Michel-Eugène Chevreul, Johann Wolfgang von Goethe and Paul Cézanne.

Vincent Beaurin’s artworks are measuring instruments, of the near and the unattainable, of man and landscape, of the unsettling and art history.

Hailing from a tradition of craftsmanship through gold and silversmithing training at the École Boulle, and recognized as a designer for his 'Noli me tangere' collection (1994) and his collaborative projects with the Galerie Néotù, Andrée Putman and Alessandro Mendini, Vincent Beaurin attaches crucial importance to the aptness of forms and the completeness of their execution, lending his works a confident certainty, whatever their dimensions. This certainty and this obviousness are obtained through a pre-semiotic visual language: colours are neither sign-like nor symbolic, but emotional and atmospheric; forms are not complex but elementary and organic; the meaning is never transcendent but immanent. Everything is there, on view, overt, like in the early morning of the day of a heat wave, or the next day all wet from a majestic storm. Landscapes, climates, the mineral world and the sun’s cycle all form the horizon of an artist of contemplation, who reconciles in his works painting and sculpture, surface and volume, textures and outlines, self-presence and reflection about space. Because it is not a matter of merely creating, it is also necessary to show and organize the articulation of works between them, within arrangements which reveal them, and link them together, enabling them to encompass the viewer, and go beyond him, the better to trap and incorporate him ('Hand-made colour sculptures: some are paintings, some are statues', 2017, in 'L’Expérience de la couleur', National ceramic museum, Sèvres, 2017-2018; 'Etat alchimique', Brownstone Foundation, Paris, 2017; 'Couronne', 2013; 'Le Spectre', Atelier Cézanne, Aix-en-Provence, 2010; 'Avant la panique', Crédac, Ivry-sur-Seine, 2006; 'The Fun of the Past', Mudam, Luxembourg, 2006; 'Yanomani, l’esprit de la forêt', Fondation Cartier pour l’art contemporain, Paris, 2003).

Vincent Beaurin’s works are go-betweens, light, sentimental and tough.

Never smooth, at times harsh, invariably physical, they are like those knucklebones, pieces of flint and pebbles which sometimes emerge on their surfaces, and which we are fond of handling in the palm of our hand. Memento vivi. They ask us to be there and situate ourselves, to remove ourselves from our liquid world to establish a contact zone to be used both physically and sensually, in a state of introspection and listening. To this end, they offer a powdered harmony, an intense calm, a vigorous serenity, that, needless to add, of the alchemist, but above all that of an artist drawn along by a radical quest: the quest for the exposure of optical and pictorial phenomena, forms of liaison and synaesthesia, and a sincere state of the world and art

L'Expérience de la couleur - Musée National de Céramique - Sèvres - Cité de la Céramique, 2017-2018.

Domenico de Chirico, Milan, March 2018.

'This universe is a unique animal that contains in itself all the animals, having only one Soul in all its parts.' Plotinus, Enneads, IV, 4, 32, 1st original edition 3rd-4th centuries

At the centre of the ancient Greek philosopher Plotinus doctrine is the notion that unity is essential to life. For Plotinus 'Soul of the world' also known in Latin as Anima Mundi, is the vital principle out of which animals, human beings and plants take shape. This universal principle enables us to understand the lower degrees of nature and not vice versa. According to Plotinus, life does not assemble individual elements in order to create the most advanced and intelligent organisms because intelligence must already be present within life itself. However, ideas must remain intrinsically transcendent expressions of the same intellect which, in thinking about itself, makes itself an object in itself. Being and thought thus form a unicum. In the aesthetic-cum-formal practice of the artist Vincent Beaurin this unicum might correspond to Nature, which, from a simple principle, causes the manifold to arise. Here, while each articulating and differentiating themselves with respect to their own individual specificities, single organisms/elements are in fact linked by a pre-conceived mechanism which only exists when it is divided into individual works. The main elements of the work of Vincent Beaurin are gathered here on stage: colour with its energy, air and light, body, figure, sinuosity, and sparkle. The unicum stands out in the form of sparkling particles, manifesting itself continually each time and in each element in a different way, in the end, abstraction is understood as an impulse to a broader and more general vision that radiates, defining itself in a continuous interplay of coming and going. Light plays a fundamental role in this cyclical movement. A glow is always present in Vincent Beaurin's works. It is almost as if his works preserve the luminous element within themselves and this glow seems to refer to that uniqueness, which, as stated above, is divided and united, and manifested in its variety through colour that gradually becomes matter. His work as a sculptor consists in solving and balancing mutual pressures, particularly between a body in the making and the space containing it, not forgetting everything that is already present in space. This careful study is evident in this exhibition at the National Museum of Ceramic - Sèvres - Cité de la Ceramique. In it, Vincent Beaurin's works simultaneously evoke a sense of extreme lightness and heaviness, and seem to dance with the host environment. It is almost as if their light embraces the surrounding elements in a continuous association that expands that sense of everything being immanent in his work and everything being rooted in this event. In so doing, taking things beyond their specificity, the contours become blurred and everything is illuminated. The light-bearing air as well as the breath intended as an irradiating force, seem to play an important role in this enveloping and dynamic approach.Everything alludes both to what is hidden in colour and to what is hidden in the intimacy of matter. It is as if there were two types of light: one that illuminates objects and is distinct from shadow, and one for which the same objects do not represent predetermined obstacles or screens because they are self-sufficient elements defining themselves more precisely and even more by night or in a pleasant state of quiet. Each work of art is positioned in space, reproducing an effect that, due to its unusual qualities, can be defined as 'aura'. Each work is the aura of itself and at the same time, the aura of a distant call that keeps getting closer and closer.

Vincent BEAURIN Ocelle, 2018.
Ocelle, 2018.
Polystyrene, glass.
Ø 71 x 13,5 cm / Ø 28 x 5 1/4 in.
Unique
Datée, signée
Vincent BEAURIN Ocelle, 2018.
Ocelle, 2018.
Polystyrene, glass.
Ø 71 x 13,5 cm / Ø 28 x 5 1/4 in.
Unique
Datée, signée
Vincent BEAURIN Ocelle, 2018.
Ocelle, 2018.
Polystyrene, glass.
Ø 71 x 13,5 cm / Ø 28 x 5 1/4 in.
Unique
Datée, signée
Vincent BEAURIN Ocelle, 2018.
Ocelle, 2018.
Polystyrene, glass.
Ø 71 x 13,5 cm / Ø 28 x 5 1/4 in.
Unique
Datée, signée
Vincent BEAURIN Ocelle, 2018.
Ocelle, 2018.
Polystyrene, glass.
Ø 71 x 13,5 cm / Ø 28 x 5 1/4 in.
Unique
Datée, signée